Natural Forms in HB Pencil | Helen Woodford | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

5 Lessons (49m)
    • 1. SkSh HB Pencil Intro

    • 2. SkSh HB Pencil Poppy

    • 3. SkSh HB Pencil Lotus

    • 4. SkSh HB Pencil Cone

    • 5. SkSh HB Pencil Out

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About This Class

Welcome to this course, which is going to help you learn how to draw natural forms from real life in HB Pencil. 

Don't forget to download your course guide here which will help you with the course along the way. 

Meet Your Teacher

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Helen Woodford

Relax, Unwind, Unleash your Creativity


Hello, I'm Helen.

I run Create! Art School in Nottingham, UK. 

A former secondary school art teacher, I am now headteacher of my own tiny school!

I am passionate about helping people take time away from their daily lives to relax, unwind, unleash their creativity and make beautiful art. 

I give you the chance to take the time and space, and provide the expertise so you can find your inner creative. 



See full profile

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1. SkSh HB Pencil Intro: I'm Helen. I'm going to teach you today how to draw three beautiful natural forms, just using very simple materials. So just to pencils. So you need a rubber, some paper, and a sharpener. And I'm gonna take you through three beats for natural forms. The first one is the poppy head that slightly disintegrating. So it's kind of got, get interesting textures. The second one is a lotus part, which is kind of alien life quite interesting located. And the third one is a pine cone. So I'm gonna take you through how several days to seem very simple pencil material. And I think you're going to enjoy it. 2. SkSh HB Pencil Poppy: I'm going to start by just guessing my workspace Fridays or nice piece paper and pencil. And i'm just so looking at the kind of items I've collected. So this drawing is going to be about sort seed heads and draw sort of dried things that have come dried out in the gardens for these lovely seed heads I've collected. And of course, catkins well which Beautiful. And some poppy heads of dry, sort of drying out. Which is all taking the time to have a look at, see what the fancy drawing could draw one or could draw all of them. I think just going to focus on one thing for now. And I'm just going to get that ready when putting on my paper. So I can sort of really clearly say it, going to be all these other things away. So I've got one thing to draw, it's not distracting. So I'm just going to start by just having a look at the shape of the sea tide and sort of sketching out roughly. So lucky so to fly. This so Touche. And I can't stress enough how important it is to keep looking. Because it's so easy to not look and to kind of make out as to how you think is going to look. So keep looking. I think mine goes a bit more in there as well. So look at the shape and just try to get it as near as he can to the shape. Because that's the key to sort of drawing observationally is to just keep an eye on what you're doing is it's easy to just kind of dawdle often think about other things. And the top of the pupae is kind of so to shape, kind of quite flat on the top. And then round like this and the edges kind of go out and innovate. So just really look and drew, you say is a little bit poking out there at the back. Okay. So that's a quite a good shaped Papi, I would say for now, I've ended up with loads of lines that I don't actually need the ark and get rid of those. And in a minute, as this is load bottleneck at the bottom here, just little neck too and little collar. And then it goes down into the stalk which I'm going to not draw, just going to draw the top. So there's good shape. I'm going to just get rid of anything I don't need with my Rabaa because it gets distracting. If you've got loads of lines that you don't need to get rid of them for now. So that one was wrong. So I'm going to give me two flats. Always say that. So I'll draw lots of lines and then you can just choose which ones you want to use. Centroid nine line up. Okay, so let's start looking at some of the shapes. On the puppy. So we've got this so to quite jagged, pointy bit. So I'm gonna store, so drawing those ENSO of light, like little and angular shapes like near, some of them assertive in front may some of the memo to the side. So you can sort of say some sideways shape psi M. Okay, so that's quite a nice little Papi had that sort of spiky bits at the top. And I'm going to bring in a little bit there and draw the top of the property in there like that. And then I'm just gonna take my line. So you see this behavior, it's sort of directly in front of me. It's a slightly curved but not too not too much. So let's take this down here like this and we're going to stop at the bottom. And then another one kinda running parallel to it. Again, I think actually the more lines you kind of do on drawings like this, the most of textual they look. So each one of these little crown pieces goes into a line. So there's a little, I would say spot a little pattern and it makes it easier. But again, don't stop looking. And everything kind of comes to a bottom here, kind of squishes in a bottom there. So you're spotting the pattern is really looking at what shapes connect to what. So this coronet thing at the top where the puppy top is, is where will these lines come from? So just spotting little bits of patterned this base, a bit stuffed up, heroes disintegrated slightly, but I'm still gonna draw those lines in just to give me a bit of help to get the structure, sorts it out. Let's come down here. And I'm doing my nine slightly wiggly, so they're not perfect. But I kinda like that because it gives you a bit of texture. Let's go up here, down here, down here. So the more is keeping my line continuous, not worrying too much about it. And then in between all these poppy structs. So the structure does these lots of little joining, joins that can join up the stress gaseous, very architectural plant, Rayleigh and poppy in. It's joined up vertically and horizontally. So I've just discovered that you say because I'm just looking at it. And you learn a lot about how things are created, how things are made by just creating the little drawings of them. So you can actually learn a lot about the world around you without trying to just, just, just by looking, you learn. Say, I'm kind of going doing a bit of a system here where I'm just filling in the gaps and I'm just occasionally looking back now, which means that I've got some of them a bit to regular. So I'm just gonna keep looking around here. Doing that. Can't see too much of this found here because it's got a bit scarf in the US. It's sort of disintegrating through the, through the wether. It's kind of, so I'm gonna do a bit of this kind of thing and take secant see too much of that. The five is a kind of breaking down. Now AAA. So job if scruffy drawing there and then a bit score of a drawing over here. Where the area is just kind of starting to be less defined. You can see less of it. But let's go back here and maybe just a few little tough debates coming off the side, cuz it's quiet fiber. Just a few little bits. So the HB pencil that I'm using is a really good standard pencil. And what I like about it is it doesn't smudge. Sometimes when you didn't drawings like this, you get too much smudging and end up with smudge everywhere, wherever a good. So pencil lattices is a kind of call this the Goldilocks pennant. So it's sort of in the middle. It's not too hard, not too soft is just right. And it's great for just drawing, sketching without too much kind of depth. So dark and light. So a good HB pencil is really good for just sort of sketching out, getting new ideas down if you want to kind of embellish later with something a little bit darker, like AKA 2B or 4B. You can do that. But I'm going to just stick with this because it works really well for i one to four. I've also got these sort of little Catherine's inside this little caves inside the pop piano. Guang going to do is just fill lies in using a pencil, dressing quite hard and then making that dark mark come out. And what you get the feeling of is that there's something inside which we know is a race because it contains the seeds, which is pressing quite hard. Oh joy inhibits in. And again, this H B doesn't smudge too much so I can get a really good control laser, my module ring up. Don't get me wrong. I love to be but in the right place. And they take a bit of practice to stop, you know, you have to be carefully dense much the handover than things I learned and you end up with a kind of a 4B. He lives of extra bits of smudge. So loved this bit down here where I've got these lines kind of converging. I'm gonna put V of tone in nose. So you're telling me is when you push harder, it depends where you get darker arcs. Oh, lighter with your pencil, you get lighter marks. So talionis, basically dark and light. It will converge in that bottom row. It's quite effective. Spoke a little bit more here. In a second, quite sculptural and structural, which is perfect. And you have to fill in every box so I can leave some of them quite open. Let's just put a little bit of shading on up here. So I'm going to just do some shading on these pointy bits and just pressing him with my pencil. And again, I'm not going to shade everything and I'm just going to leave some bits out, some of these lighter. But by doing that, you just get this feeling that there's some in dark and out light weights. Just a little bit selective about where you put your dark and light. Key to drawing is getting a good balance between all of them. Not not doing Lozano who's dark, loads and loads of light. And then there is a gray, so middle gray. Just keeping, keeping to one of those is the idea is to balance them out so they all become important. Because then the dark bits look as good as the light bits. And every bit of the drawing is so valued. Whereas if you go on a bit of a filling in everything, dark mission, it wouldn't look very good. So that's quite nice. Scope sculptural puppy now, just from getting a fee lines as just a little bit around here. And if you can't get hold of days, if it's the wrong time of year than you can use photographs or just go and have a look at anything else that some outside they can forage and chop off because this is a really good way of just kind of looking and drawing something quite three-dimensional. But without too much pressure, it's a small object. I think that's a really good kind of tip really is to start small though small, and then you can go bigger and more adventurous. So there we go. There's my little puppy head. Seed had just drawn in HB pencil. Creating the structure first of all with the lines and adding in the shapes, and then start the tag bit of tone and texture towards the end. 3. SkSh HB Pencil Lotus: Okay, for this drawing, I wanted to draw this amazing thing. It's a lotus called say gorgeous. I mean, even underneath, it's beautiful. But I wanted to draw this to help you to start creating a positive light to dark shading in nearby. Ok. And this is a perfect example of how you can create areas of lights and heightened gray areas of dark in one section as a really good example of something It's quite fun to draw, but it's also quite systematic. You can follow a system with that. And you might find that you don't want to draw the whole thing. But I'm going to just skip to the whole loves and show you how to do it. You can always pick bits of sections of things. You don't have to do the whole, whole thing. So I'm gonna draw minus if I was looking at it straight on because that is the easiest way to draw things when you're looking at them directly, straight home because it's hard to draw things from an angle because then you have all these different kind of edges and things that you have to deal with. You've got a bib spective to deal with. You've got some foreshortening, which is things being made to look like they're small when you actually know that not that small. So it sort of, it acquired a trick of the drawing trick, Rayleigh, or a painting trick is to proportional and things I know how big that is. When I turn it that way, it doesn't look the same. So I'm going to kind of create a drawing just as if I was looking directly at it from the top, which I am the way I am sitting here. So we're gonna drill down onto my paper now. So I'm going to, first we'll just draw the shape is quite circular. Bots are maybe a bit more into screen in a Mexican SIR. But it's, it's, it's slightly 1234, slightly pentagonal actually in its structure. To see that it's not quite a circle. It's got more sort of almost edges to a pentagonal, slightly in shape. I'm going to have to redraw a little bit in a minute. It's kinda bit wonky. So yeah, that's quite, and that's quite round. It randomly, amoebae but more on secrecy. Mudflats, bit more flat. And then it goes in a bit there. So I have a look at sort of lumps and bumps and bits that you don't need. Again, if you can't find a lotus part hanging them out, you can always go and get a photo of one. Florists. Do these quite a lot. You can go pick up one for a flurry soldiers find another interesting kind of seed head of something soft dried out they could do. I'm just going to kind of draw around here in a kind of weak leeway. So it's go acquire serrated edge, so it's quite freely. And the Agile based. So it's quite, gives a quite nice feature. So sort of do the basic shape and then put it a little bit of detailing in after. Say My detailing is my frilly edge. And go a few lines again that we take need, I'm going to get rid of those is a kernel. So I'm going to sort of look, look at the form of this festival. So if I look at it first, it looks like a massive dots, but actually there is a bit of a pattern to it. Can you say there's a circle in the middle and then it's five potatoes, anyons, Hi t looks like a bit like a flower. And then around the outside of that and has 12311 petals are on the outside. I think I counted that right. Say yeah, there's 11 petals around the outside. So always in odd numbers is m is quite sort of a natural phenomenon that odd numbers kinda cover, crop up a lot in, in flowers. And so funny kind of natural forms that just have alert can count. There's nothing wrong with a bit of counting. So I'm kind of drawing the flower in the middle. This o quite alien like I think ways they will occupy a moon crater or something on either just amazing. So I defined in the middle. And then look at the shapes of them. They're not all perfect circles. Some of them a bit sort of odd shapes and there's a bit of a gap around the outside between the edge of the circles on the edge of the pod. 123. I'm going to run every 06. I'm just looking and drawing, trying to fit them all in. Seven. Suddenly Mike app, it's all towards the end. I find room for ten. Squash one of them. I think this one needs to be squashed. So I'm just going to make them a bit smaller. Just about fitted it. Okay, so my strange alien life form is taking shape. Ok, so I'm going to look at the shading festival. So when I look at my plot here, I can see that the light areas are towards the left hand side of each of the pods. On the dark heavy is right down in the bottom there. So I'm gonna start with the middle one. So this is light to dark shading. That's up to you whether you start light at this side and dark this cycle. I'm going to show you how I'm gonna do. I'm gonna start light. I think it's easier to go light to dark. So I'm starting here. As I'm going over to the middle, I'm going to start getting a bit dark. And now I'm just going to show you how I'm holding my pencil. I'm holding right at the end, in the crook of my hand. I find it easier to hope my pencil almost flat to the paper when I'm shading because I just think is is more comfy. I see people shading, holding right down at the bottom here, especially can get a real element of control. But I just find it is not very comfy, especially if you're doing a lot of it. So just try to I'm just going to try and hold at the end and then just shade it curves. And you don't have to go in one direction. There is a bit over myths about shading that, oh, you know, you have to do all the same as B in one direction. I think that's not true. I think you just do whatever works. And I always say this to my students. You know, if you don't like it, change it, find a different way. And my method is one way of doing it. Sort of got a bit darker. If this side, you see this is a little bit more mid gray Illuminate. So I want to make this side a bit darker. Okay, that's alright. But I just want to make this blending of it more. So it's a bit dark moment and it's a bit of a block. So to kind of blend in, I'm just gonna go over the edge of my block and just take my pencil of paper slightly and just soften my mark. So it gets nice and noise. Just smudging in edge of that black block. That's nice. Lights, dark area. Number one. Quickie, get us it. Light. I'll show you this without stopping this time. Totally depends. So you might end up with a bit of a line between the shades. It is matter. T ranges as well. And change our action if you wanted to. See how just gradually Smith did, it doesn't happen immediately, you have to work at it. But it's such a good skill to master. So you've got plenty of chances here. You just go into NFP is not right the first time. Then you literally just do it again, going over again. So I'm kind of going towards Madame carry here, putting that in for just after I've done my gray and energy, she's my pencil to smudge in. So it's looking quite three-dimensional cause it looks like these are like little individual caves. Let's go the other way. I'm gonna show you the other way, dog. Therefore, this a little bit harder because it leaves you less wiggle room to go too dark and then get lighter. Again. I'm using an HB here because I think it works fine. If you want to use a 2B or 4B, 6B to do this, you'll get quite a different feel to it because it will feel much more smudged. When diagonal lambda l, you say to creating that dark to light feel scary. I might need to rotate my paper in a minute because there is no point in drawing and putting yourself at discomfort. So you just turn things around. Also the way you're sitting. So it's comfy. Because this is supposed to be relaxing. Not a torture exercise for your control Ting yourself to fit to the paper. So you can say, this is a great exercise and really worth practicing. I mean, you can do some pencil practices where I0 by creating a grid of squares and just filling those in different ranges of shades. So starting with your dog going to middle men going to alight, and then trying to blend the three together a bit. That's quite, quite an interesting technique. Quiet an interesting task, say, it's worth practicing. But I think, you know, after you've done 16 of these, stroked the AdMob my head. 16 of these blocks, I think 16115. You probably open-ended 17. You will probably have had enough practice. But it's always worth is it's all about muscle memory as well. I mean, I can do this without really thinking about it because I've trained my line to do trained my hand to do it because I do all the time and have done it for a long time. But and if you're not so sure about how to do this, just practice it. Loads of times nu suddenly get good at it. And it's fast. Switching from your conscious brain while you're thinking about it. To actually wonder you realize you've not thought about it and it sure is your unconscious brain taking over and taking control because it knows what it's doing without you having to think about it. It's really interesting that kind of point YOU turn from thinking about what you're doing to actually just doing it, which is really exciting as they like learning to drive in a, you have to think about it when you start off and then you go somewhere and you think, I can't remember driving because your brain just your unconscious brain takes over and it does it for you. So it's bit like drawing, just practice is the key, is something so relaxing about doing this. Just filling in smooth shading. And I'm getting quicker because I'm so training myself to do a three julep shading anyway. Normally shade in little blocks like this. As you do more of them, you start to get quicker at them. Or you just think, I'm going to turn my paper around in a second because if I lean on my work from here, I will end up smudging it. Even with HB, you can still smart, you can see this mock-up, his not quite config some sort of habit to move the camera here as well. So it's obviously not being quite as good. So I'm just going to swap it around. They turned things around and try not to forget which way you were doing it. I'm just gonna go back pay with S1 because my hands change position. I'm going to have to reset, resetting. We train it again. It's making my pencil so worn down by more than one size. Well say filled with funny. Something very entrancing mountainous isn't to see kind of get into the zone of em wake up and females later. Having drawn an amazing latest part, it looks quite three-dimensional, doesn't quite sort of got quiet obstructed to it. Now just for those little holes, you have to imagine that that holds. Just gonna roadmap is if they are outside. Just by getting rid of that distracting nine that I use to map out wives doings. So I'll just put a little bit of textual value on it. So it just starts to look a bit more to be careful because I've rubbed I've updated my shading, it slightly smashed it. So just be careful. Going to play around the edges can just create that wobbly edge that I've worked, rubbed day Rabinovitz, it's going a bit less striking. So each of the pods of garbage texture crinkly. And lineage is say, the goddess kinda crinkly next to them. So I'm just wondering whether to do a little bit of this kind of mock around the outside. So just using what kind of soldiers to careen column and a little bit, perhaps just tweak it a little bit continuous line around here. I'm just carrying on my line most of pink, kinda crinkly mark to spike twinkling around the edges. Some of them got little m, little scars coming out of cargo ripped into the fabric of things. Then. And if this line is kind of back in full 3D line. So sometimes it's going to be impossible to draw exactly everything that you've got. So you have to just improvise a little bit on how would I do that? How would I use a mark to make that sort of perfect without sitting in painstakingly drawing every single bit of it. So I'm using a little bit of artistic license here. So I've been looking and I've been observing, but I want to kind of get a crinkly failed today. Texture of the part. Say by just using a line case kind of around and up and down and wiggles about. Kind of getting this crinkly nest. The field of M reshaped from my planet silicon, it's gonna be planet. So keep checking your pencil. That's the other thing. Keep checking your pencil. Is it okay to use it? Lost some of his sharpness. Destroying the plump pencils. Horrible. I love this, I love this effect. We couldn't clean as thermometer bit harder as well. This one moment, God-Man, a bit more. Creating all these darker areas here. Okay, So they carry out and you could just add a little bit of more deep shadow if you wanted to on them. And let's just do a pheno cuts into the sides of the old one. Completely perfect. They're sort of, some of them are whipped into day. And we've got these little we've got little breaks in the surface. And there we go. That's my part looking very alien like yeah, he enjoyed it. 4. SkSh HB Pencil Cone: I'm gonna draw a cone. So these various ways you can do this, we can look at it from all different ways or different angles there. So structural and beautiful on me. But they are quite complicated and people get a bit scared of drawing codons because of the fact that they are, have got so many elements to them. This one's just so, it's got so many colors on it as well. So have a look around and see what Eli come in the bottom is beautiful. And the way it's got this lovely sort of Fibonacci pattern. Again, very mathematical is massless. This approach, say turning around these lovely structs coming up. Or you could look at it from that way. So almost like a flower. I think the other thing people find about Keynes is some bits are looking, you're looking down at it, the ones that are on the side and probably easier if people find this hard to get their head around that. This one is facing me. How do I draw that? But only have to do is look at the shape of what, what is it, what does it look like, rather than thinking about it as a thing? In a, that's a bit of cones that came towards me. It's gonna be really hard. Just look at it in terms of a shape, just like a little 100 D-shaped really coming out of a piece here. So I'm gonna go for, let's go for a side view, but don't feel like you have to. You can turn it over. I mean, that's beautiful API call just to draw. There's all these little pieces overlapping. Or you could draw it from the top, which is more like flowers. I'm gonna go for side view and appropriate. The rubber stays up. Map to move the rubber eliminator. So I can see it from there as a side view. So first of all, let's have a think about the shape and sketch out the basic shape. So aligned along the bottom just to kind of give me my base of my brain. And then it's kind of like this, say shape kind of code goes round down. So I'm just looking at it in terms of an oval shaped to start with, because I think that's easier to do them just worrying about the will, the bits coming off there. So let's break it down to the bottom bit. Is this big going on here? I'm just going to rotate it slightly more this way so you can see more of the site for I'm doing very guidance butter. So I have got this bid above two mm, which is all the bits along here. And then it kind of comes, it so starts spreading out more up here. So I'm gonna draw so central line in to help me with that. And then this little pointy bits at the top. So I'm going to start with top thing and work down, say this first bit. So i'm not thinking that is not a cone is just loads of shapes mixed together. So this is my first chunk up here. It's like too little bits together. I've got one little bit and then another bit there. So I'm just looking at it in terms of shapes rather than worrying about what arcane actually looks like. So you're just drawing in the chunks. They're like little chunks coming out and it's a little bit. And then this one is more shape. This shape. So this is the first of the ones that I think people get worried about, drawing the end of it, which is squashed triangle. And then that kind of goes into there without shape that I don't see much of that because it's gone. That's how this one I behave. I mean, they are quite regular shapes, but sometimes they have the bit that you think isn't quite good. But remember that the natural objects and are going to be manufacturing and factory. You have to sort of get your head around the fact that they might be a bit uneven and there might be a bit rough. Then other one is a straight forward looking one. And another one will not be too far away. Mind chunk of them up here. So I'm getting now to the more densely populated area and on this side, so I'm going to leave that for now. I'm gonna go back to this side. So I'm kind of at this one. Yeah. Okay. So I'm gonna come down here and just draw. And we've got to start at the top because if left up, left a bit of space at bottom of the page, which I probably will need to use now. So I need a bit more wave here. And coming along the bottom ones here, just piecing them together. Is this being here, the dark? That's quite hard to think about drawings. I will go into that in a minute. I'm just looking at the end. The ends of the cone shapes are really useful here. So we can just so pay so that together. It's quite nice. That's quite a good picture. There is net of the cone roughly. And then I'm going to just add a bit of tone into it, but I'm not gonna go too mad because I wanted to leave this quite line drawing. And so I'm just gonna draw around the bits where can see lightest chunks and dark chunks near the ends of each of the carrying. Bits. In. Some of them are quite triangular. Some of the moves of odd shapes because they're on the sides. A little bit shading on in the dark areas of God. So in here, I'm just gonna go and quite dogs at home ADC, what's going on in there? Because it's quite far away and quite dark. So I'm just gonna put a little bit of shading in here and then just fade it out here as well. They behave. Just say by building this up, it's starting to take, take a foam, shading each individual bit. You can just do a bit too dark in the middle here. Because you can't see all of what's going on in here is a bit gloomy and dark shading on and doing quite scribbly shading. Because the insides of the K naught, she really dark as well. So it's not just the shadow, it's the color of the elements. Expand a little bit around here. Just take a set marketing does not look three-dimensional shape anymore, obviously. So I'm going to explore it that my rubber and from the cone prop and just rubbed out this answer line. And just be careful that you don't know about anything that you really want to keep the low bits in here running to get rid of. So once it broke down to serve a liquid it again see if facilitating Elsa nature sort of reassess. Its gonna take it away from table. A cone. I think he looks at it looks bit barrier to this side. I've not seen missed something here. I think mistakes too. So let's just pop those in. Sometimes she can get carried away. Forget all you do in those tube. It's in a little bit shady and expect more balance now, doesn't it? Sometimes you just missed things and you need to just, it's important to go back and have a look at them and say that's everything that you need. So every day there's a cone in HB pencil drawn in line, but with a bit of scribbly shading just to kind of create those deep areas. 5. SkSh HB Pencil Out: Thank you, thanks for watching these videos. I hope you really enjoyed a strong Rings creating these beautiful creations with your pencil and hope to see you for another outlet density.